Mercy and revenge are but two sides of the coin in the latest thrilling installment of bestselling author Daniel Abraham’s adaptation of George R. R. Martin’s classic fantasy! To the victors belong the spoils: thus has it always been for the savage nomads of the Dothraki. But when Daenerys finds that the spoils include helpless women, she intercedes—triggering angry dissension between Khal Drogo and his men. Drogo’s word is law . . . yet the strange ways of his Targaryen bride undercut his authority. Now wounded, Drogo is weaker still. Yet help comes from an unexpected quarter: Among the rescued women, a healer steps forward, eager to repay her debt. Meanwhile, across the sea, another debt is about to be paid. As Arya Stark fights to survive on the streets of King’s Landing, the newly crowned King Joffrey prepares an unpleasant surprise for her imprisoned father, Lord Eddard.

A reign of terror begins in the latest installment of George R. R. Martin’s fantasy masterwork. After the death of Viserys, Khal Drogo seems content to forget his promise to conquer Westeros for his wife, Daenerys—until an assassination attempt stirs him to vows of vengeance. Vengeance is also in the air at King’s Landing, where Joffrey, newly enthroned, names Tywin Lannister as the King’s Hand . . . while Sansa Stark pleads for the life of her father, now named a traitor to the crown. Locked away, injured and in disgrace, Eddard is offered a final bargain: For the price of his honor, he may yet save his life . . . and that of his daughter.

Neil Gaiman (_Sandman_, _American Gods_) teams with Paul Chadwick (_Concrete_) for The Day the Saucers Came�! Plus, three new series debut this month, including work by Simon Roy (_Prophet_) Shannon Wheeler (_Too Much Coffee Man_), and _Arcade Boy_ by Denis Medri! * Caitl�_n R. Kiernan's _Alabaster_ and Michael Avon Oeming's _The_ _Victories_ continue! Comics' best kept secret trove of great comics."Comic Book Resources **2012 Eisner and Harvey Award winner!**

Christian theology has been complicit in justifying the war on women, but it also has resources to help finally declare peace in the war on women. War itself has come to resemble the war on women, and thus strategies to end the war on women, supported by new Christian theological interpretations, will also help end today's endless wars.

A broad examination of climate fantasy and science fiction, from The Lord of the Rings and the Narnia series to The Handmaid’s Tale and Game of Thrones. Fellow Inklings J. R. R. Tolkien and C. S. Lewis may have belonged to different branches of Christianity, but they both made use of a faith-based environmentalist ethic to counter the mid-twentieth-century’s triple threats of fascism, utilitarianism, and industrial capitalism. In Fire and Snow, Marc DiPaolo explores how the apocalyptic fantasy tropes and Christian environmental ethics of the Middle-earth and Narnia sagas have been adapted by a variety of recent writers and filmmakers of “climate fiction,” a growing literary and cinematic genre that grapples with the real-world concerns of climate change, endless wars, and fascism, as well as the role religion plays in easing or escalating these apocalyptic-level crises. Among the many other well-known climate fiction narratives examined in these pages are Game of Thrones, The Hunger Games, The Handmaid’s Tale, Mad Max, and Doctor Who. Although the authors of these works stake out ideological territory that differs from Tolkien’s and Lewis’s, DiPaolo argues that they nevertheless mirror their predecessors’ ecological concerns. The Christians, Jews, atheists, and agnostics who penned these works agree that we all need to put aside our cultural differences and transcend our personal, socioeconomic circumstances to work together to save the environment. Taken together, these works of climate fiction model various ways in which a deep ecological solidarity might be achieved across a broad ideological and cultural spectrum. “This book is remarkably diverse in its literary, cinematic, journalistic, and graphics-media sources, and the writing is equally authoritative in all these domains. DiPaolo’s prose moves deftly from a work of fiction to its film avatar, to the political and societal realities they address, and back again into other cultural manifestations and then into and out of the deep theory of climate fiction, literary scholarship, ecofeminism, religious tradition, and authorial biographies. It contributes considerably to all of these fields, and is indispensable for climate and environmental literature classes. It’s also a must-have for general readers of the genre.” — Jonathan Evans, coauthor of Ents, Elves, and Eriador: The Environmental Vision of J. R .R. Tolkien “I like it. No, I love it. This book is both broad and deep, and yet it remains both very readable and constantly interesting. It’s the sort of book that can only be written by someone who is a good reader of both books and culture. As I was reading it I thought, this is like being at a party and meeting someone brilliant and fun, and finding that I’m enjoying that person’s company so much that I don’t notice the time flying by. It’s not often that a scholarly book does that to me.” — David O’Hara, Augustana University

This book reflects on time, space and culture in the Game of Thrones universe. It analyses both the novels and the TV series from a multidisciplinary perspective ultimately aimed at highlighting the complexity, eclecticism and diversity that characterises Martin’s world. The book is divided into three thematic sections. The first section focuses on space—both the urban and natural environment—and the interaction between human beings and their surroundings. The second section follows different yet complementary approaches to Game of Thrones from an aesthetic and cultural perspective. The final section addresses the linguistic and translation implications of the Game of Thrones universe, as well as its didactic uses. This book is paired with a second volume that focuses on the characters that populate Martin’s universe, as well as on one of the ways in which they often interact—violence and warfare—from the same multidisciplinary perspective.